THE MAN OF SORROWS: BEING A LITTLE JOURNEY TO THE HOME OF JESUS OF NAZARETH

East Aurora, New York: The Roycrofters, 1905. FIRST EDITION. No. 62 of 100 COPIES on Imperial Japanese Vellum. 207 x 132 mm. (8 1/8 x 5 1/4"). 4 p.l., 111, [3] pp.
Original suede-backed dun-colored boards by the Roycroft Bindery, raised bands flanked by blind rules extending across leather on cover, two panels lettered in blind, dun-colored endpapers, top edge gilt, other edges untrimmed. In the original matching dun paper clamshell box line with fleece, printed paper label to tail edge (and in fine condition). With title page, gothic initials, and printer's device printed in black and pale orange. ◆Perhaps a hint of scuffing along top edge of suede, otherwise nearly pristine.

This is a virtually unworn copy of what the colophon says is a "sincere attempt to depict the life, times and teachings, and with truth [to show] the personality of the Man of Sorrows." Its author, Elbert Hubbard, began writing his "Little Journeys to the Homes of the Great" series in 1894, contracting to produce one a month for Putnam and Sons. Later, these short works were published by Roycroft, both as stand-alone volumes and as introductions to other works. Inspired by William Morris' Kelmscott Press, Elbert Hubbard (1856-1915) purchased the struggling Roycroft Printing Shop in East Aurora, New York, in 1897 and set out to launch an American Arts & Crafts movement. According to ANB, within five years, the Roycroft organization "had shops for printing and binding and for furniture, metal, and leather work; it also established training schools for the local youth in drawing, watercolor, and bookbinding. . . . Hubbard allowed free experimentation and never questioned the cost . . . . Designers and craftsmen could work out ideas and, if unsuccessful, just start over. There were never deadlines for the books or prohibitions on design motifs." While Roycroft productions did not reach the elevated achievements of the best English private presses, Hubbard nevertheless had an important impact on American book arts: as his friend William Marion Reedy observed, "he makes lovers of books out of people who never knew books before." This binding (not to mention its remarkably well-preserved original publisher's box) shows a cleanness of design and discerning decisions regarding colors and texture; it is not overpowering, but rather just as it should be..